One of the best and bloodiest evil-clown movies, whose out-of-print DVD has become a collector’s item, is coming back: Marcus Koch’s 100 TEARS has a new disc on the way. We’ve got an exclusive look at poster art for this release and details from Koch, plus info on the reissue of his early feature ROT.

Has the found-footage genre become so commonplace that moviemakers no longer feel the need to justify why anyone keeps filming? DEVIL’S DUE joins this month’s PARANORMAL ACTIVITY: THE MARKED ONES in presenting scenes from the point of view of cameras whose owners should have long since abandoned the idea of capturing the moment.

After a bumpy start, some may be wondering if 2014 will be as good a year for screen fear as the one before it. Actor Zach Gilford certainly hopes so; the FRIDAY NIGHT LIGHTS actor has doubled down on the genre this year, enduring hell in this week’s DEVIL’S DUE before entering the battlefield of THE PURGE 2, out June 20. FANGORIA spoke to the busy young actor about his first foray into found footage, and how horror may have been more familiar than he anticipated.

While Sundance has grown intensely in both size and notoriety (likely the first thing that comes to mind when filmgoers hear the term ‘film festival’), it’s retained a significant, definitive quality: the element of surprise. A great many titles of the annual lineup do come with some level of anticipation, be it cast or filmmakers sure, but often its most discussed films seemingly come out of nowhere, flooring audiences and critics alike. In horror alone, this yearly tradition has yielded the likes of THE BLAIR WITCH PROJECT and SAW. In keeping with this spirit, Fango has opted to take a look at two films in the 2014 midnight lineup that arrive with little awareness, but may make a big impression. Today, as the curtain raises on Sundance 2014: William Eubank’s THE SIGNAL.

Antonia Bird’s bracing cannibalism opus RAVENOUS never got the attention it deserved in theaters, but has built a following of fans who’ve been hungry for a hi-def release—and they’re going to be sated this summer. Read on for the info and an advance look at the cover.

Forget simply seeking it out, scientifically experimenting with the supernatural is where the true fun lies. It’s why stories like Richard Matheson’s HELL HOUSE and THE STONE TAPE endure, and it’s there where Hammer’s brand new haunter THE QUIET ONES plants its feet. In the 1974-set film based on actual events, a professor and his group of students investigate “creating” a poltergeist through the energy of their subject, a troubled young girl and her damaged psyche. Frights and plenty of sternly messing about with equipment ensue.

The Sundance Film Festival kicks off today and likely our most anticipated of the horror films there is Park City at Midnighter THE BABADOOK. From Australian director Jennifer Kent, the film looks an eerie, atmospheric story of a mother on the edge, her dangerously misbehaving son and the supernatural stalker out of a storybook that may be the cause of all their trouble.

UK-based director Drew Cullingham seems to have taken the old-fashioned “three’s a crowd” thriller and filtered it through a psychedelic, frenzied haze in THE DEVIL’S BARGAIN, a film that wants to let you know up front(al) about its bare skin. Available to rent/stream online as of Friday, January 17, you can see a trailer for this end-0f-the-world period piece below.

Yesterday, a video featuring an animatronic “devil baby” terrorizing New Yorkers, in the service of promoting Fox’s release this week of DEVIL’S DUE, went viral. Today, we’ve got exclusive video of how the terrifying tot was created, and comments from one of the folks behind the video.

Yes, the nominations for those other awards were announced this morning, but where do fright fans get the chance to vote on the horror year’s best? In our annual Chainsaw Awards, honoring the best and bloodiest of 2013. Jump past the jump for all the nominees.

There’s something familiar about NURSE 3D. Yes, the old fashioned obsessed, psychotic woman story. But in promoting itself as kind of an unabashedly trashy thriller, it also looks to have something notable and monstrous in the stalking and stalk-like Paz de la Huerta. We’ve yet to see if her performance will be one for the insane-o ages, but this latest TV spot and one new photo in particular paints her as a lunging, leering, bloody, hostile thing.

As the 2014 Sundance Film Festival—a particularly genre-heavy one at that, gets underway—the year also marks the 15th anniversary of what’s arguably the renowned fest’s biggest horror surprise: THE BLAIR WITCH PROJECT, a tiny piece of fright filmmaking that rocketed out of nowhere to become a sensation with a technique that’s not only still in use, but more popular than ever. THE BLAIR WITCH PROJECT, while endlessly parodied, appropriated and overexposed, remains a household name for a reason. Its influence holds, sure, but so does its power. Daniel Myrick and Eduardo Sánchez’s first person account of missing documentarians is still all too eerie, and all too perfect for annual autumnal viewing. In celebration of the film, as well as the festival that helped launch it, FANGORIA and co-director Sánchez look back on BLAIR WITCH, their Sundance experience and its ultimate legacy.